Director

TARAN

TARAN's video for South London singer-songwriter and producer&nbsp;Saint Demarcus soulful Enough is&nbsp;built around the passing of time, youthful love and the slow ache of heartbreak.In the video&nbsp;we follow the feeling of a relationship as it shifts - the warmth of the beginning, the intimacy of being young and fully consumed by someone, and the quiet distance that starts to appear when things begin to fall apart.TARAN includes the simple yet effective device of a locked-off shot of a magnificent oak tree&nbsp;in a country field at different times of the day as a visual metaphor for the passing of time. As the day progresses, the relationship between Saint Demarcus and his girlfriend undergoes subtle changes.&nbsp;"The video isn’t about one dramatic breakup moment, but the accumulation of memories: summer light, colder days, familiar places feeling different, and the strange way love can remain present even after it has changed," says TARAN.Shot with a soft, nostalgic eye on film the video leans into texture, natural movement and emotional stillness.&nbsp;A tender, cinematic portrait of love, loss and the feeling of trying to hold onto something already slipping away.[imgtoken data:1]

Kodak

Saint Demarcus 'Enough' by TARAN

Saint Demarcus - Enough (Official Music Video)

He may be best known for his British hiphop, grime and rap videos, but Teeeezy C's follows his Nothing But Thieves video earlier this year with another venture into rock - and shooting in the US&nbsp;- for&nbsp;America&nbsp;emo-rock outfit -Grayscale.&nbsp;Shot in Philadelphia,&nbsp;where the band is based - the video explores societal pressure and generational trauma, visualised in a mix of performance, narrative and docu-style cutaways.&nbsp;The textural aesthetic and naturalistic camerawork also feed in to the&nbsp;fly-on-the-wall feel of the fastmoving visual.The mix of fictional setups and snapshots of reality - as well as a powerful band performance - helps tie the concept into the serious message of the track.&nbsp;Leaves a lasting impression.[imgtoken data:1]&nbsp;

United States

Indie

Rock

Grayscale 'Not Afraid To Die' by Teeeezy C

Grayscale - Not Afraid To Die (Official Music Video)

Teeeezy C directs a dark tale of&nbsp;risk, repercussion and reward, in his&nbsp;promo for M Huncho x Slim.&nbsp;The enigmatic video for Any Minute takes place against a gritty London backdrop, bringing a dystopian feel&nbsp;to the city streets.&nbsp;Featuring&nbsp;bullet-ridden crime scenes, speedboats cruising down the Thames and plenty of memorable performance moments, the visual storms ahead at breakneck pace, and balances action with an unsettling, melancholic vibe.[imgtoken data:1]Teeeezy C's cinematic style comes through in the ambitious scale of the visual, with plenty of engaging cutaways and slick transitionsMeanwhile, Michael Richard Johnson's cinematography hits the right blend of near-future grit and nostalgic flair.&nbsp;

United Kingdom

Hip Hop

M Huncho X Slim 'Any Minute' by Teeeezy C

M-Huncho-X-Slim-'Any-Minute'-by-Teeeezy-C

Teeeezy C enters into rock territory in triumphant fashion, with an absorbing road movie-style video for&nbsp;Nothing But Thieves.In the video for Overcome, a couple leave their enigmatic surroundings in search of the perfect life, on the road with the band - and Teeezy puts a modern twist on classic rock videos from the golden age of MTV.&nbsp;&nbsp;&nbsp;Taking us on a journey of human connection as they head towards the DCC - an obscure&nbsp;entity that represents one’s deepest desires - the video is tied together by a captivating performance from the band, and an overarching sense of mystery.With a naturalistic colour palette and brilliant central performances from the main characters, it's an evocative, powerful journey and a brilliant complement to the group's comeback track.&nbsp;&nbsp;

Nothing But Thieves 'Overcome' by Teeeezy C

Nothing-But-Thieves-'Overcome'-by-Teeeezy-C

Teeeezy C directs a stylish and dynamic promo for WSTRN, featuring Skillibeng.Combining thermal imagery,&nbsp;high energy performance and some slick cinematography, the video starts 2023 off with a bang, and plenty of captivating visuals - involving&nbsp;moments from a grimy&nbsp;gangsta lifestyle - to keep viewers hooked.&nbsp;Placing emphasis on tight match cuts and footage shot on a&nbsp;travel probe lens, the video is a refined and refreshing piece of work, elevated by a film emulation grade.&nbsp;

Grime

WSTRN ft Skillibeng 'Unload' by Teeeezy C

Wstrn-Ft.-Skillibeng-'Unload'-by-Teeeezy-C

<h3>We talk to Teeeezy C about his powerful video for Bandokay's Memories, the young rapper's lament for his late father Mark Duggan - who's death sparked the London riots in 2011 - and his approach to the issues addressed in the track.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</h3>&nbsp;Teeeezy C's new video for Bandokay marks a move into new territory for the director, presenting him with a different challenge to any of the many videos for hip hop and grime artists he has made before. How do you channel a genuine feeling of grief and&nbsp;loss into a medium that rarely deals with these matters?Bandokay - real name:&nbsp;Kemani Duggan -&nbsp;is the son of a man who died in 2011: Mark Duggan. His death, after being stopped by police in North London sparked nationwide riots that summer. Thirteen years later, Bandokay has released Memories, focussing upon&nbsp;the father who died when he was ten years old; still grieved by him and his family.&nbsp;&nbsp;Teeeezy's video for Memories chooses a combination&nbsp;of symbolism and documentary reality&nbsp;to capture the dichotomy between&nbsp;personal feelings of loss and the environment in which both he and his father rose to adulthood. There are representations of both religion - the iconography of Christianity to be specific - and also the side effects of warfare, plus more footage of life in 'the ends', all captured in almost tactile grittiness on 16mm film by Henry Gill.The video for Memories marks a notable new step for the director, so we talked to Teeeezy about the project.&nbsp;[vidtoken data:0]<blockquote>All those mentioned in the video... should&nbsp;not be forgotten.</blockquote>PROMONEWS: How did this project start for you? ? Was Bandokay someone that you were aware of? TEEEEZY C: I first worked with Bandokay back in the summer of last year. But this was the first time I had a chance to really sit down and delve into the meaning of the track.&nbsp;It’s quite a dark and ominous expression of pain and street culture. I felt it needed a visual representation to match.Did you get a lead from Bandokay and/or the label about what they wanted?I was fortunate enough to be given the opportunity to take the lead on this project and had creative freedom to take it where I saw fit. I worked closely alongside Mus who is part of Bandokay’s management team and when he sent me the track, I knew it was something special.What was the key element in the treatment for Memories that won them over?I think there are a few interesting themes that got their attention. Firstly, Bandokay mentions his late father, Mark Duggan on the track. It was that event that was a catalyst that led to the events of the London Riots in 2011 and a wider conversation on the legality and dark underbelly of the use of extreme force by the Metropolitan Police Service.&nbsp;I think management knew that I understood the ramifications and background to the song, and as such, I’d be able to capture the essence of what the song meant.[imgtoken data:1]<blockquote>Shooting on film appears to immortalise what you capture.</blockquote>Depending on who you speak to, some news outlets simply attempt to label Mark Duggan as a criminal, and as such a police execution is somehow just or acceptable. I wanted to show the flipside of this bigoted and counter-intuitive thinking. Mark was a father, a brother, a friend and most importantly, a person. Capturing the loss and void left by his father was one of the most important components in this visual.When you watch the video, you can really see the pain in his Bandokay’s eyes. Losing a parent is heart breaking but having them stolen from you by an extension of the government is horrific. I think this sadness is reflected by the violin on the instrumental as well as the manner in which Bandokay is captured on camera. Many of the moments are natural and unscripted, it was important to just observe instead of choreograph.Equally, the Church in the video and the biblical themes also corelate to the notions of life and death. The Last Supper setup was a nod at the Bible with an important twist. The table is laid with golden dinnerware, a symbol of status and wealth. It represents the material items in life that many strive for.[imgtoken data:2]However, the blackened food juxtaposes that material wealth with the idea that in such pursuits, we can often lose ourselves, compromise our morals and damage our spiritualty. More specifically, it relates to the pursuit of materialism from a street perspective, sinning in order to acquire, which is no doubt toxic and erodes one’s wellbeing.Finally, the Russian Roulette setup develops on the Last Supper scene as a metaphor for risking ones’ life, represented by the spinning gun. Involvement&nbsp;in street life can come with consequences - it’s essentially a gamble. In conjunction with the Confessional setup, I think the video offers an honest and truthful outlook on the song. It does not glamourise the subject matter, but instead captures it as it is.<blockquote>Broadwater Farm...&nbsp;holds a presence like no other council estate I’ve ever been to.</blockquote>How much of the content came out of trying things out on the day, or was everything storyboarded?&nbsp;Probably around 85% of the video was storyboarded prior to the shoot, perhaps a little more. I knew exactly what I wanted from many of the setups, reinforced on our recce and tech recce.I always like to leave a little room for experimentation and improvisation because I definitely feel some golden moments you cannot anticipate; you can only react to. Given that we shot on 16mm + 35mm film, having a really solid plan was important in ensuring the edit flowed correctly.What inspired the decision to shoot on film?I was working alongside my good friend and repeat collaborator Henry Gill who has DP’d quite a few videos for myself. If you know anything about Henry, he’s one of the best DP’s on film around at the moment, so that was a factor in shooting on the medium.[imgtoken data:3]<blockquote>My main focus this year has been to develop my skills in the craft of filmmaking.</blockquote>Equally, I’ve been getting the ever-increasing sense that shooting on film appears to immortalise what you capture. When I watch the work of others on film, the projects always age well, they never feel dated or out of touch. Instead, I feel like I’m right there with them in that moment, it gives for an incredibly immersive viewer experience.Henry also DP’d Bru-C’s Playground for me earlier this year and we had some really positive feedback on that. As such, building on that foundation and keep the momentum going felt natural.When and where did you shoot the different elements of the video?&nbsp;&nbsp;The video was shot across two days in London. We used a stunning Church dating back to the 1600s as our main shoot location. The architecture and styling of the building felt grand but still gritty, a reflection on the track itself.On our second day of shooting, we travelled to the Broadwater Farm Estate in Tottenham, where Bandokay hails from. It was built in the late 1960s and holds a presence like no other council estate I’ve ever been to. The roads within the block are like a maze, once you’re in its very easy to get lost and very hard to get out. The urban decay of the area provided a powerful backdrop for the block performance scenes, presenting Bandokay as a refined artist - a stark comparison to his surroundings.We also filmed the cemetery scene at Mark Duggan’s burial site. This was perhaps one of the most powerful moments for me on the project. It was a very humbling experience to film at such a location, and a reminder of how very human we are. Just a stone’s throw away from the cemetery was a park, where the sound of music and laughter could be heard. It was quite poetic in many regards, the contrast of life and death was so simply poignant.[imgtoken data:4]<blockquote>The aim was to bring awareness to the issue as the recent events sadly echo those of Mark Duggan.</blockquote>You have addressed the political controversy and feelings of injustice that followed&nbsp;Mark Duggan's death in a restrained way, at the start and end of the video. What was the thinking about taking this approach?The initial message at the start of the video and tribute at the end was something Bandokay wanted to incorporate. This song was very personal for him, even more so given it was released on the birthday of his father. It was a touching note and a very pure moment in the video.It just so happens that the timing of the video falls in line with the recent incident involving Chris Kaba, very much a tragic coincidence. The aim was simply to bring awareness to the issue as the recent events sadly echo those of Mark Duggan. All those mentioned in the video and indeed all those that lost their lives at the hands of police deserve to not be forgotten, instead we hope that spreading awareness can help motivate social change and promote reform.There appears to be quite a development in your own work since the start of the year. Where does that stem from?Since the start of the year my main focus has been to develop my skills in the craft of filmmaking. I’ve been spending a lot more time researching different directors and videos, as well as the technical side of blocking, storyboarding and using symbolism to simplify ideas yet still conveying a message.Equally, spending more time working on fewer projects has really allowed me to get the best out of my team and myself. I’m always asking myself 'why are you doing this?'&nbsp;or 'what motivates this setup?'.&nbsp;If I’m unable to answer, I force myself back to the drawing board. Motivation is so important as a driving force in telling stories, and questioning my own reasoning helps as a self-regulator.• Watch more of Teeeezy C's work <a href="https://teeeezyc.com/" target="_blank">here</a>

Teeeezy C

Odyssey

Teeeezy C on Bandokay's Memories: "It's a dark expression of pain and street culture, and it needed a visual to match."

Bandokay-'Memories'-by-Teeeezy-C

Teeeezy C directs a brooding, cinematic performance promo for Bandokay's heartfelt Memories.&nbsp;Portraying the grit and suffering of everyday life without glamour or reservation, the video explores the artist's upbringing, street culture, and the death of his father Mark Duggan in 2011.&nbsp;Interweaving biblical themes with gritty performance setups, the video is a poignant, emotional affair, with a focus on elevated, filmic vignettes.[imgtoken data:1]

Jai Mhach Durban

Bandokay 'Memories' by Teeeezy C

Teeeezy C enters the crazy world of FelixThe1st, channelling slasher movie vibes, for the insanely catchy Block &amp; Delete.In the vid, FelixThe1st is holed up at home, with his extensive collection of vintage Nokias and VHSs, trying to avoid unwanted female attention, but coming under increasing threat - and&nbsp;eventually taken hostage by that person who is trying to avoid. And apparently it's all 'based on a true story'...[imgtoken data:1]Teeeezy brings his customary flair to his latest 'Tarantino Motion Picture'. There's energy, edge and grittiness, harnessed in a kinetic edit, but also a tangible sense of claustrophobia as we crash into Felix's lair.A lurid colour palette and unpredictable contrast between bright and dark is disorientating, and that suits this irrepressible, Slipknot-loving dancer-turned-rapper. It's as off-kilter as he is, and a good way to build on his breakthough success via TikTok.&nbsp;

FelixThe1st 'Block & Delete' by Teeeezy C

Felix-The-1st-'Block-&-Delete'-by-Teeeezy-C

Teeeezy C directs a sensual promo for Ms Banks.&nbsp;The video for Favourite Girl depicts Banks in a room, reflecting on the relationships she has around the world.&nbsp;Intercutting dynamic performance footage with portrait-style shots of the men in her life, the video touches on themes of intimacy, passion and&nbsp;rich heritage, linking back to the artists' Ugandan and Nigerian heritage.[imgtoken data:1]"I wanted to include a variety of setups that feature rich and deep colours that mirror the rich heritage of Ms Banks," says Teeeezy C.&nbsp;"A personal favourite of mine was the Goddess setup that was really brought to life by the incredible production design of Jade Adeyemi and her team."I'm really happy Ms Banks trusted me with this and fully supported my vision. It was certainly a challenging production with a lot of time spent focusing on the details and storyboarding but hopefully demonstrates that my team and I are fully capable of making the girls look just as good as the boys!"

Ms Banks 'Favourite Girl' by Teeeezy C

Ms-Banks-'Favourite-Girl'-by-Teeeezy-C

<h3>We talk to director Teeeezy C about his recent video for Nottingham rapper Bru-C, shooting in the tough neighbourhood of Long Eaton and exploring ideas of British identity - for Playground. BTS photos by Harvey Cameron.&nbsp;&nbsp;</h3> He is one of the UK's most prolific music video directors, renowned for exciting videos for the likes of&nbsp;Unknown T, M Huncho, Millionz and ArrDee. His latest video sees him working for the first time with Bru-C, and the resulting video is a vibrant and riveting snapshot of the artist within the tough, close-knit community of Long Eaton in Nottingham, where he grew up and still lives.It's also possibly Teeeezy's most politically-charged video, engaging with issues at the heart of the track Playground. So we asked the director about the making of this groundbreaking project.[imgtoken data:1]<blockquote>Bru-C wanted to capture his hometown authentically.</blockquote>Promonews: How did the project begin for you? Had you already made a connection with Bru-C before you heard Playground?Teeeezy C: The project began as this idea of blending the grit and rawness of a Northern city with the child-like notion of playground fence - except this fencing entraps you rather than protects you. Which&nbsp;was the foundation that we build outward from.Nicola Sheppard -&nbsp;senior video &amp; content commissioner for 0207 Def Jam -&nbsp;originally hit me up saying she had a really cool brief for myself. Apparently Bru-C had asked for me personally, which I found quite warming. After hearing the song I was fully on board. I saw it as a chance to step into a new realm and create something with some narrative elements.I spoke to Bru-C on the phone a few times and I really liked his energy. We both wanted to create something powerful and I think that initial energy sparked everything that followed.[vidtoken data:0]As the lyrics are so specifically about his neighbourhood, was he and the label looking for a doc-style video in the district, or was that your idea?Bru-C wanted to capture his hometown authentically. I think that was the main point he made clear and more or less left it to myself on how we go about achieving that.I think the pace of the track inclined me toward a documentary-style approach as it allowed for us to add energy through zooms and aggressive editing. I wanted to add layers into the visual as opposed to just sticking with performance. I personally find myself drawn more to videos that are able to go deeper than just surface level.[imgtoken data:2]Was there anything from your previous work that they wanted to reference? Did you reference anyone else’s work in your treatment?In terms of previous work for myself, I think what Bru-C and Nicola wanted most was for myself to draw natural and honest performance from talent and cast. I’m really grateful Nicola and the Def Jam team were able to trust me to execute my vision. Their support really made me feel comfortable throughout.The video for <a href="https://www.youtube.com/watch?v=Ib2-bnJv51I" target="_blank">Slow Thai’s Gorgeous by The Rest</a> was a strong reference for myself. I was really pushing to shoot on 16mm film as well, which the label very kindly allowed me to do. <a href="https://www.youtube.com/watch?v=QWaWsgBbFsA" target="_blank">Romain Gavras’s video for Stress by Justice</a> inspired some of the cinematography too. The crash zooms were a personal favourite of mine.[imgtoken data:3]<blockquote>There’s something very rewarding about giving a voice to those who don't usually get the chance to represent themselves.</blockquote>The song is not only about his tough neighbourhood but about an idea of Britishness, and that also comes through in the video. Was that an appealing part of this project? Were you exploring new territory with this?Being able to touch on something as meaningful as the notion of Britishness was one of the most exciting parts of working on Playground. I remember whilst we were sitting in the beer garden, Bru-C was telling me about how he faced racism and challenges as one of the only people of colour in his neighbourhood.Equally, he also spoke openly about how Nottingham made him who he is today, and that the area of Long Eaton also held fond memories for him as a young man. Exploring ideas of police tensions, nationalistic feeling, youth and inner-city living were really important to me in conveying the various aspects of what makes Nottingham what it is.[imgtoken data:4]Looking to the future, working on similar projects based around community is something I want to explore. There’s something very rewarding about being able to give a voice to those who may not often get the chance to represent themselves.How long did you have to prep the shoot? And did you spend much time in the neighbourhood before the shoot?Prep was probably around a week or two, with a lovely day out in Long Eaton with the head of departments around a week before the shoot. We probably covered almost every inch of the city on our recce, in search of locations that best fit the narrative I wanted to deliver.I actually remember feeling really deflated after the recce, as I wasn’t convinced we had what I wanted to create the idea in my head. The day after we returned, I had to slap myself and told myself to pull it together, and set about problem-solving in order to tackle the various creative and production issues we were faced with.[imgtoken data:5]<blockquote>Bru-C is a hero in Long Eaton... the locals love him.</blockquote>What was the key to engaging with Bru-C’s neighbourhood, and getting so many of the locals involved?&nbsp;Being completely honest, Bru-C himself was responsible for getting so many people out to come and support. He is a hero in Long Eaton. Having grown up there, he is very much a part of the community and the locals love him. I saw him conversing with older pub goers and young local lads alike. He’s honestly such a gentleman and an absolute dream to work with.How long did you have to shoot all those set-ups - 'real life' and the constructed stuff - and how did you organise your shoot day? What were the most&nbsp;challenging moments - if any?&nbsp; &nbsp;Given the nature of the project, I really saw this as a chance to prove myself in a new genre and I wanted to ensure we gave ourselves every chance to smash it. As such, I proposed a two-day shoot, so we could really touch on the different aspects of Nottingham.[imgtoken data:6]Day 1&nbsp;was spent at Nottingham Forest's football stadium - the City Ground.&nbsp;We divided our time between the stadium carpark, for the playground cage scenes, and then the pitch and hallways.&nbsp;I wanted to schedule it this way for two main reasons. The first was that the carpark was closed off to public access so we had complete control of the set. The second was because I knew the momentum a successful first day would give us for day two.&nbsp;Day 2 was focused on Long Eaton and the pub setups. Overall, the planning and organisation was great, so from a production standpoint everything ran smoothly. The clients took us for a bevvy after the first day, everyone was cracking jokes. It was like working with friends.How excited&nbsp;was Bru-C about shooting at the City Ground?Once we got pitch side at around 4pm I could see the energy on set was electric. People weren’t screaming and shouting as such, but I think we all knew how powerful the pitch side setup was and it really gave everyone the confidence to step it up a level.[imgtoken data:7]<blockquote>Nottingham treated us as one of their own.</blockquote>I would also like to give a special mention to Will O’Dooghe of NFFC for being so accommodating and helpful. He literally gave us complete access and without him I don’t think the video would be what it is.You obviously had a solid idea of the final edited video before you shot it, but did you leave anything out, or add anything new on the shoot day?The vast majority of the video had been shotlisted and discussed with Henry Gill, the Director of Photography, prior to the shoot. I always like to get my essential components on the video on paper and then allow myself some room for creative improvisation on set in case something unplanned but very much worth capturing occurs.I believe film sets are a place where you need a solid degree of structure and organisation, but where music is often an emotional outlet, it can be very useful to work with the energy on set, as opposed to trying to fight it. I’ve lost track of the number of magical moments captured just by anticipating the energy of talent and cast once they get into the swing of things.[imgtoken data:8]Had you planned to go ‘behind the scenes’ in B&amp;W at the end of the video - and have you done that before?Having shot <a href="https://www.promonews.tv/videos/2020/09/15/m1llionz-lagga-teeeezy-c/76364" target="_blank">Lagga for M1llionz in Nairobi</a>, I wanted to share my gratitude with the people of Kenya for being so helpful and welcoming us with open arms, hence the BTS section at the end. In a similar fashion, Nottingham treated us as one of their own, and I speak on behalf of the entire crew when I say we all thoroughly enjoying working with such warm and wonderful people.Everything about the Playground video was real, and sometimes it’s easy to think that some moments were staged or false because it’s an edited music video. The ending was to serve as a reminder that this video is an honest representation of Bru-C and his hometown and that the people you see in the video are real Long Eatonians.• Check out Teeeezy C's work <a href="http://www.teeeezyc.com/" target="_blank">here</a>. Contact him on&nbsp;hello@teeeezyc.com&nbsp;

Teeeezy C on Bru-C's Playground: "We both wanted to create something powerful."

Bru-C - Playground

Bru-C teams up with Teeeezy C for a riveting doc-style video for Playground,&nbsp;paying tribute to the people in his hometown of Nottingham.Shot on 16mm film, this video gets to the heart of what it means to be a Nottingham local, through Bru-C's heartfelt performance and a big cast of extras from his own&nbsp;neighbourhood - the Playground.[imgtoken data:1]Teeeezy gets a real sense of the rapper's background, shooting everywhere from&nbsp;his local pub to the City Ground, home of&nbsp;Nottingham Forest - just promoted back to the English Premier League for the first time in 23 years.The&nbsp;visual also unflinchingly explores the idea of the Playground being&nbsp;a metaphor for the lawlessness and brutality of inner city living. That includes&nbsp;a reverse play on police brutality and touching on undertones of poverty, racism and classism.A viscerally&nbsp;raw and honest representation of Bru-C and his hometown.

Bru-C 'Playground' by Teeeezy C

Bru-c-'Playground'-by-Teeeezy-C

Teeeezy C teams up with JL Shot That to shoot an impressive assembly of guest MCs from both sides of the Atlantic, on the 'drill remix' of Jnr Choi's To The Moon.Jnr Choi appears with Fivio Foreign in New York,&nbsp;M24 in London,&nbsp;and also alone, in front of a huge lunar landscape backdrop.&nbsp;The video also includes performances from Russ Millions in London and G Herbo in rainy Chicago, with grime directing phenomenon Teeeezy C bringing the footage from this Transatlantic&nbsp;production together into a slick and&nbsp;entertaining package.

JL Shot That

drill

Jnr Choi ft Fivio Foreign, M24, Russ Millions & G Herbo 'To The Moon (remix)' by Teeeezy C & JL Shot That

Jnr-Choi-'To-The-Moon-[remix]'-by-Teeeezy-C,jl-Shot-That

Teeeezy C captures Arrdee in performance for Apple Music's grime showcase The Agenda - filmed in Brighton and London.&nbsp;

Arrdee 'Late Night Driving (The Agenda)' by Teeeezy C

Arrdee-'Late-Night-Driving-(the-Agenda-Live)'-by-Teeeezy-C

The imposing M Huncho waxes lyrical in Teeeezy C's London-set video for The Worst.

M Huncho 'The Worst' by Teeeezy C

M-Huncho-'The-Worst'-by-Teeeezy-C

Unknown T is back in the manor in Teeezy C's East London-set video for Often.

Unknown T 'Often' by Teeeezy C

Unknown-T-'Often'-by-Teeeezy-C

Teeezy C directs an absorbing video for French The Kid.There are echoes of Romain Gavras's classic for Justice's Stress, as a baseball bat-wielding gang march through an East London estate. But together with the trademark set-ups associated with the genre, the director also includes striking still life portraits and a thoughtful performance by the Essex-born, Toulouse-raised rapper.

French The Kid 'Make It Out' by Teeeezy C

French-The-Kid-'Make-It-Out'-by-Teeeezy-C

Young T and Bugsey get it on with the girlfriends, with the help of Blxst, in Teeeezy C's video for Nice.

Young T & Bugsey ft Blxst 'Nice' by Teeeezy C

Young-T-&-Bugsey-Ft.-Blxst-'Nice'-by-Teeeezy-C

SL and Tom Zanetti travel through time - hence the dodgy wigs -&nbsp;for Time Zone.

SL ft Tom Zanetti 'Time Zone' by Teeeezy C

SL & Tom Zanetti - Time Zone

Eno 'Ensar' (Directors Cut) by Teeeezy C

Eno - Ensar [Directors Cut]

Teeeezy C brings military precision to his banging video for Swarmz's team-up with&nbsp;Bugzy Malone and M24.With impressive use of locations and army equipment, Teeeezy gets great performances from all three artists in a terrific visual for Payslips.&nbsp;&nbsp;&nbsp;

Swarmz ft Bugzy Malone & M24 'Payslips' by Teeeezy C

Swarmz Ft. Bugzy Malone & M24 - Pay Slips

Teeeezy C's gritty video for M1llionz' Lagga - shot&nbsp;in Kibera, the tough quarter of Nairobi in Kenya,&nbsp; Nairobi and Kenya’s largest slum – has the scope of a movie, and a great performance by the Birmingham rapper amid the brandished machetes and guns.Powerful stuff - the video won a MOBO for Video of the Year. Teeeezy talks about the making of the video with Crack Magazine <a href="https://crackmagazine.net/article/long-reads/how-director-teeeezy-c-took-birmingham-to-nairobi-in-the-video-for-m1llionz-lagga/" target="_blank">here</a>.&nbsp;

M1llionz 'Lagga' by Teeeezy C

M1llionz-'Lagga'-by-Teeeezy-C

Unknown T, KO and V9 take their fighter jets back to Homerton, in&nbsp;Teeeezy C's slick video for Aven9ers.

Unknown T ft KO & V9 'Aven9ers' by Teeeezy C

Unknown-T-Ft.-Ko-&-V9-'Aven9ers'-by-Teeeezy-C

M1llionz recounts his run-ins with the Law in Teeeezy C's fast-moving, richly textured video for&nbsp;B1llionz.

TARAN

Director

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